Because I live here
For the purposes of a film shoot, the staircase of the building in Metzstrasse 11 in Munich becomes a transit space of West Germany in 1975. Inventory (Metzstrasse 11) by 沤elimir 沤ilnik portrays the residents 鈥� the majority of them so-called guest workers who, one after the other, introduce themselves, say where they come from, when they arrived and a little about their situation in Germany. In-Formation (2005) by Harun Farocki, on the other hand, revolves around the power of representation manifest in statistics about migrants and the stereotypes they create. A wide range of charts and diagrams on migration and immigration from statistical surveys, official publications and textbooks are mounted as a visual vocabulary of our perception. The montage makes the seemingly neutral information of the diagrams appear as one-dimensional clich茅s that contribute to shaping our perception of reality: a form of visual violence that testifies to both structural and everyday racism.
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For the purposes of a film shoot, the staircase of the building in Metzstrasse 11 in Munich becomes a transit space of West Germany in 1975. Inventory (Metzstrasse 11) by 沤elimir 沤ilnik portrays the residents 鈥� the majority of them so-called guest workers who, one after the other, introduce themselves, say where they come from, when they arrived and a little about their situation in Germany. In-Formation (2005) by Harun Farocki, on the other hand, revolves around the power of representation manifest in statistics about migrants and the stereotypes they create. A wide range of charts and diagrams on migration and immigration from statistical surveys, official publications and textbooks are mounted as a visual vocabulary of our perception. The montage makes the seemingly neutral information of the diagrams appear as one-dimensional clich茅s that contribute to shaping our perception of reality: a form of visual violence that testifies to both structural and everyday racism.
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